London Philharmonic Orchestra concert programme 24 Jan 2015 by London Philharmonic Orchestra

Concert programme lpo.org.uk

Winner of the RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Leader PIETER SCHOEMAN† Composer in Residence MAGNUS LINDBERG Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 24 January 2015 | 7.30pm

Stravinsky Requiem Canticles (15’) Interval

Contents 2 3 4 5 6 7 8

Verdi Requiem (84’) Vladimir Jurowski conductor Maija Kovaļevska soprano Ildikó Komlósi mezzo soprano Dmytro Popov tenor Nikolay Didenko bass London Philharmonic Choir Orfeón Pamplonés In association with the Office for Cultural and Scientific Affairs of the Embassy of Spain in London. We are grateful to an anonymous donor for supporting the participation of Orfeón Pamplonés in this concert.

* supported by the Tsukanov Family Foundation † supported by Neil Westreich CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

9 10 11 20 22 23 24

Welcome LPO 2014/15 season On stage tonight About the Orchestra Leader: Pieter Schoeman Vladimir Jurowski Maija Kovaļevska Ildikó Komlósi Dmytro Popov Nikolay Didenko London Philharmonic Choir Orfeón Pamplonés Programme notes and texts Next concerts Supporters Sound Futures donors LPO administration

The timings shown are not precise and are given only as a guide.

This concert is being broadcast live by the BBC on Radio 3 Live In Concert – live concerts every day of the week. Listen online in HD Sound for 30 days at bbc.co.uk/radio3

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk

London Philharmonic Orchestra 2014/15 season Welcome to tonight’s London Philharmonic Orchestra concert at Southbank Centre’s Royal Festival Hall. Whether you’re a regular concert-goer, new to the Orchestra or just visiting London, we hope you enjoy your evening with us. Browse the full season online at lpo.org.uk/performances or call 020 7840 4242 to request a copy of our 2014/15 brochure. Highlights of the season include: •

A year-long festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces including all the symphonies and piano concertos, alongside some of his lesserknown works.

•

Appearances by today’s most sought-after artists including Maria João Pires, Christoph Eschenbach, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati.

•

Yannick Nézet-Séguin presents masterpieces by three great composers from the Austro-German tradition: Brahms, Schubert and Richard Strauss.

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The UK premiere of Harrison Birtwistle’s piano concerto Responses: Sweet disorder and the carefully careless, performed by Pierre-Laurent Aimard.

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Soprano Barbara Hannigan joins Vladimir Jurowski and the Orchestra for a world premiere from our new Composer in Residence Magnus Lindberg.

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Premieres too of a Violin Concerto by former Composer in Residence Julian Anderson, a children’s work, The Pied Piper of Hamelin, by Colin Matthews, and a new piece for four horns by Titanic composer James Horner.

•

Choral highlights with the London Philharmonic Choir include Stravinsky’s Requiem Canticles, Verdi’s Requiem, Rachmaninoff’s Spring and The Bells, Ravel’s Daphnis et Chloé and Janáček’s Glagolitic Mass.

We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Catherine Craig Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Sharp Robin Wilson Nilufar Alimaksumova Second Violins Victoria Sayles Guest Principal Jeongmin Kim Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Floortje Gerritsen Dean Williamson Helena Nicholls Sioni Williams

Violas Przemysław Pujanek Guest Principal Cyrille Mercier Robert Duncan Gregory Aronovich Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Daniel Cornford Isabel Pereira Sarah Malcolm Pam Ferriman

Piccolo Stewart McIlwham* Principal

Trombones Mark Templeton* Principal

Alto Flute Sue Thomas*

David Whitehouse

Cellos Kristina Blaumane Principal Steffan Morris Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell

Bassoons Rebecca Mertens Guest Principal Gareth Newman Simon Estell Stuart Russell

Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis William Cole Sebastian Pennar Laura Murphy Flutes Michael Cox Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE

Oboes Ian Hardwick* Principal Alice Munday Clarinets Robert Hill* Principal Thomas Watmough

Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Robin Totterdell Daniel Newell Offstage Trumpets Nicholas Betts Co-Principal David Hilton Toby Street Will Roberts

Chair supported by William & Alex de Winton

Bass Trombone Lyndon Meredith Principal Cimbasso Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani Simon Carrington* Principal Keith Millar Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Jeremy Cornes Harps Rachel Masters* Principal Lucy Haslar Piano Catherine Edwards Celeste Clíodna Shanahan * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Meet our members: lpo.org.uk/players

Clare Robson Stewart McIlwham*

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Sonja Drexler

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London. The Financial Times, 14 April 2014 The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking ensembles in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

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soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a seasonlong festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most soughtafter artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

Pieter Schoeman leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich. London Philharmonic Orchestra | 5

Vladimir Jurowski Principal Conductor and Artistic Advisor

Quite apart from the immaculate preparation and the most elegant conducting style in the business, Jurowski programmes with an imagination matched by none of London’s other principal conductors. © Thomas Kurek

The Arts Desk, December 2012

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. He also holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin, New York and St Petersburg Philharmonic orchestras; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra national de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. lpo.org.uk/about/jurowski

Watch a video of Vladimir Jurowski introducing the LPO 2014/15 season: lpo.org.uk/whats-on/season14-15.html

Maija Kovaļevska

Ildikó Komlósi

soprano

mezzo soprano

A graduate of the Latvian Academy of Music, Maija Kovaļevska made her operatic debut in 2003 at the Latvian National Opera in her native Riga as Donna Elvira in Mozart’s Don Giovanni. 2006 saw the start of her international career with her portrayal of Donna Elvira in both Verona and Reggio Emilia, Italy. Her debut with the Metropolitan Opera, New York took place in December 2006, as Mimì in Puccini’s La bohème, and she returned the following season for Gluck’s Orfeo ed Euridice conducted by James Levine.

One of today’s major interpreters of the Italian and German dramatic repertoire, Hungarian mezzo soprano Ildikó Komlósi studied music at the Franz Liszt Academy in Budapest and on specialist opera courses at the Teatro alla Scala in Milan and the Guildhall School of Music & Drama in London. She was the winner of the Pavarotti International Competition in 1986 and made her debut in Verdi’s Requiem opposite Luciano Pavarotti, under conductor Lorin Maazel. She subsequently launched a successful career on the world’s great stages: following her debut at the Vienna Staatsoper, in 1990 she sang in her first production at the Teatro alla Scala.

Maija’s international debuts continued in 2008 with La bohème at the San Francisco Opera and Tchaikovsky’s Eugene Onegin at Glyndebourne Festival Opera, in the role of Tatyana under the baton of Vladimir Jurowski. That same year she returned to the Metropolitan Opera for both La bohème and Bizet’s Carmen. 2009 saw her debuts at the Washington National Opera, Munich State Opera, Théâtre des Champs-Elysées in Paris, Torre del Lago Puccini Festival in Italy and Cortona Tuscan Sun Festival. In 2010 Maija returned to Munich for Don Giovanni, and made a highly acclaimed debut at the Royal Opera House, Covent Garden as Micaela in Carmen. In addition to the Metropolitan Opera, Maija Kovaļevska appears regularly at the Vienna State Opera, the Royal Opera House and the Munich State Opera. She recently made her debut at the Dresden Semperoper in Iolanta, and appeared as Liù in Turandot at the Teatro alla Scala and in Guangzhou (China); La bohème at the Royal Opera House, in Hamburg and in Sydney; The Marriage of Figaro in Buenos Aires; Don Giovanni in Palermo; Eugene Onegin in Geneva; and Carmen in Mexico. Among her future engagements are Eugene Onegin with the Vienna State Opera and La bohème in Riga.

Ildikó Komlósi is a regular guest at the Metropolitan Opera in New York; the Royal Opera House, Covent Garden; the Vienna Staatsoper; the Teatro alla Scala, Milan; the Teatro San Carlo, Naples; the Maggio Musicale, Florence; the Arena di Verona; La Monnaie in Brussels; and the Teatro Municipal in Santiago, Chile. She has collaborated with conductors such as Valery Gergiev, Zubin Mehta, Sir Colin Davis, Sir Antonio Pappano and Daniel Oren. Her repertoire includes operas by Mozart, Donizetti, Ponchielli, Bizet, Massenet, Richard Strauss, Tchaikovsky, Bartók, Verdi, Mascagni, Cilea and Wagner. Among her most recent successes were a Zeffirelli production of Aida at La Scala, and another Aida at the Royal Opera House directed by Robert Wilson and conducted by Sir Antonio Pappano. For the last five years she has been invited annually to appear at the Arena di Verona in the roles of Carmen, Amneris, Santuzza and Laura. In 2006, together with José Cura, she was awarded the Arena Award. In 2009 she appeared to great acclaim as Santuzza in Mascagni’s Cavalleria rusticana at the Metropolitan Opera, New York. Ildikó Komlósi records for Decca BMG.

London Philharmonic Orchestra | 7

Dmytro Popov

Nikolay Didenko

tenor

bass

Ukrainian tenor Dmytro Popov is gaining international recognition as one of the most important young artists before the public today. Since winning the Plácido Domingo Operalia Competition in 2007, he has made significant debuts at venues including the Royal Opera House, Covent Garden; Deutsche Oper Berlin; Bavarian State Opera, Munich; Teatro Regio, Turin; Stuttgart Opera; L’Opera de Monte Carlo; Hamburg State Opera; Opera de Lyon; and Opera Australia.

A graduate of the Moscow Academy of Choral Art in singing and conducting (2003), Russian bass Nikolay Didenko became a member of the Houston Grand Opera Studio, where he remained until 2005. There he appeared in productions including Berlioz’s Roméo et Juliette, Puccini’s La bohème and Madame Butterfly and Rossini’s La cenerentola. Other roles in the USA have included Basilio (Rossini’s The Barber of Seville) for New York City Opera, and Publio (Mozart’s La clemenza di Tito) for Washington Opera.

Dmytro Popov began last season as the Prince in Dvořák’s Rusalka at the Bavarian State Opera in Munich, returning later in the season as Pinkerton in Puccini’s Madame Butterfly and Dimitry in Mussorgsky’s Boris Godunov. He subsequently made debuts with l’Opera du Rhin in Strasbourg and the Théâtre Royale de la Monnaie in Brussels, both as the Duke in Verdi’s Rigoletto. He made his North American debut in Verdi’s Requiem at the 2013 Tanglewood Festival. Dmytro returned to Opera Australia as Don José in Bizet’s Carmen, and it was in this role that he made his debut at the Rome Opera in June 2014. He also appeared as Alfredo in Verdi’s La traviata at the Deutsche Oper Berlin. In May 2014 he sang in Berlioz’s Requiem at the Royal Concertgebouw in Amsterdam under Marc Albrecht.

On the European stage, Nikolay has recently enjoyed success as Prince Gremin (Tchaikovsky’s Eugene Onegin) for Norrlands Opera, Sweden – a role he has also sung in Cologne; Filippo II (Verdi’s Don Carlos); and Leporello (Mozart’s Don Giovanni). Last season he appeared as Count Rodolfo in a new production of Bellini’s La sonnambula at the Bolshoi Theatre.

The 2014/15 season began with his debut at the Vienna State Opera as Rodolfo, and performing as Gustavo in Un ballo in maschera in Toulouse. This season he will also be heard in Rusalka in Lyon and Luisa Miller in Stuttgart, as well as returning to the Royal Opera House, Covent Garden for La traviata.

Equally accomplished on the concert platform, Nikolay’s repertoire includes Shostakovich’s Symphony No. 13 with the Tokyo Symphony and Malmö Symphony orchestras; Shostakovich’s Symphony No. 14 with the Saint Paul Chamber and Bamberg Philharmonic orchestras; and Penderecki’s Credo for the Beethoven Festival. Most recently he appeared at the Flanders Festival, Brussels in Dies Illa, a new work by Penderecki commemorating the centenary of the First World War. The 2014/15 season began with Tchaikovsky’s The Enchantress at the Theater an der Wien conducted by Mikhail Tatarnikov. Forthcoming roles include Bartolo (The Barber of Seville) for the Canadian Opera Company; Gremin (Eugene Onegin) for Nordnorsk Opera; the Pope (Berlioz’s Benvenuto Cellini) for Cologne Opera; and a new project for the Prague State Opera. Nikolay will return to the London Philharmonic Orchestra for a new commission by Alexander Raskatov in January 2016. Please note a change to the artist as originally advertised.

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London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for over 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. As part of Southbank Centre’s The Rest Is Noise festival in 2013, the Choir performed Arvo Pärt’s Magnificat and Berlin Mass, Shostakovich’s Symphony No. 13 (Babi Yar), Poulenc’s Stabat Mater, Britten’s War Requiem, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana, Tippett’s A Child of Our Time and John Adams’s El Niño. In early 2014 the Choir performed Julian Anderson’s Alleluia – which it premiered at the reopening of Royal Festival Hall in 2007 – and Beethoven’s Symphony No. 9 under Vladimir Jurowski, repeating the latter at the Théâtre des Champs-Elysées, Paris. In November 2014 the Choir was delighted to perform Mahler’s Symphony No. 2 under the Orchestra’s new Principal Guest Conductor Designate Andrés Orozco-Estrada, and looks forward to performances of Rachmaninoff’s The Bells and Janáček’s Glagolitic Mass later this spring. Sopranos Catherine Allum, Annette Argent, Tessa Bartley, Hilary Bates, Hannah Boyce, Anisoara Brinzei, Laura Buntine, Olivia Carter, Gemma Chance, Paula Chessell, Alana Clark, Emily Clarke, Eve Commander, Sarah Deane-Cutler, Victoria Denard, Lucy Doig, Jessica Eucker, Rachel Gibbon, Jane Goddard, Anna Greco, Emma Hancox, Jane Hanson, Sally Harrison, Carolyn Hayman, Louisa Hungate, Laura Hunt, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Olivia Knibbs, Clare Lovett, Rosalind Mann, Natasha Maslova, Janey Maxwell, Meg McClure Tynan, Katie Milton, Eniko Muranyi, Carmel Oliver, Angelina Panozzo, Linda Park, Lydia Pearson, Marie Power, Genevieve Quierin, Kathryn Quinton, Danielle Reece-Greenhalgh, Priscilla Santhosham, Rebecca Schendel, Sarah Skinner, Victoria Smith, Tania Stanier, Cathy Stockall, Susan Watts Altos Jenny Adam, Anna Anderson, Deirdre Ashton, Phye Bell, Andrei Caracoti, Noel Chow, Yvonne Cohen, Sheila Cox, Elisa Dunbar, Andrea Easey, Carmel Edmonds, Regina Frank, Romaine Gerber, Kathryn Gilfoy, Henrietta Hammonds, Kristi Jagodin, Marjana Jovanovic Morrison, Charlotte Kingston, Andrea Lane, Claire Lawrence,

The Choir appears regularly at the BBC Proms at the Royal Albert Hall, where performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2012 performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. Last year’s Proms season included Walton’s Henry V with the Academy of St Martin in the Fields and John Hurt under Sir Neville Marriner, who at 90 years old now holds the record as the oldest conductor to lead a Proms concert. A well-travelled choir, the London Philharmonic Choir has visited numerous European countries and appeared in Kuala Lumpur, Hong Kong and Perth, Australia. In 2013 members of the Choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London. In 2012 and 2014 it appeared at the Touquet International Music Masters Festival in France, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. The London Philharmonic Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk Emma MacDonald, Lisa MacDonald, Laetitia Malan, Ayla Mansur, Marj McDaid, Sophie Morrison, Rachel Murray, John Nolan, Angela Pascoe, Sheila Rowland, Carolyn Saunders, Muriel Swijghuisen Reigersberg, Mayuko Tanno, Susi Underwood, Jenny Watson, Philippa Winstanley Tenors Scott Addison, David Aldred, Geir Andreassen, Chris Beynon, Lorne Cuthbert, Kevin Darnell, Fred Fisher, Colin Fleming, Peter Goves, Iain Handyside, Stephen Hodges, Patrick Hughes, Tony Masters, Philip Padfield, Luke Phillips, Jaka Škapin, Tony Wren, Martin Yates Basses Jonathon Bird, Peter Blamire, Gordon Buky-Webster, Adam Bunzl, Geoff Clare, John Clay, Phillip Dangerfield, Marcus Daniels, Leander Diener, Ian Frost, Christopher Gadd, Paul Gittens, Peter Haselden, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Martin Hudson, Aidan Jones, Steve Kirby, John Luff, Anthony McDonald, Richard Miller, John D Morris, John G Morris, Ashley Morrison, Rob Northcott, Will Parsons, Johan Pieters, Mike Probert, Jonathan Riley, Sean Salamon, John Salmon, Ed Smith, Daniel Snowman, Tom Stevenson, Alex Thomas, James Torniainen, Matthew Ward, Trevor Watson, Hin-Yan Wong, John Wood

London Philharmonic Orchestra | 9

Orfeón Pamplonés

Orfeón Pamplonés, founded in 1865, is one of Europe’s most prestigious choral institutions. It was one of the first choral societies in Spain to incorporate women, with the establishment in 1903 of a separate female choir. From then on, it embarked on an artistic career unique for that period, performing works never before heard in Spain such as Beethoven’s Missa Solemnis and Bach’s Mass in B minor. In the last decade the society has performed all the major works of the symphonic-choral repertoire in Spain, France, Portugal, Germany and Mexico. These have included Beethoven’s Symphony No. 9 and Missa Solemnis; Brahms’s German Requiem; Verdi’s Requiem; Mozart’s Requiem; Berlioz’s Requiem; Mendelssohn’s Lobgesang and Elijah; Mahler’s Symphonies Nos. 2, 3 and 8; Orff’s Carmina Burana; Bruckner’s Mass in F minor; Prokofiev’s Alexander Nevsky; and Haydn’s The Creation. Conducted since 2005 by Igor Ijurra Fernández, in 2010 Orfeón Pamplonés became the first Spanish choir to perform at Carnegie Hall in New York, with the Mariinsky Orchestra and Valery Gergiev. In 2012 the choir again visited the USA, performing Falla’s La Atlántida and Orff’s Carmina Burana with Rafael

Sopranos Mª Jose Barberena Ilarregui, Maite Cebrian Zugarramurdi, Edurne Cervantes Galarza, Mª Cruz Corral Cinto, Itziar Echeverria Aldunate, Maria Echeverria Zubieta, Maria Etxamendi Tiebas, Tere Flores Araña, Amaia García Bratos, Laura González Lecumberri, Ana Iranzo Avelino, Mayte Manzano Ciudad, Yelda Mugica Subiza, Saioa Otin Arizaleta, Begoña Pejenaute Pejenaute, Milagros Perez Forteis, Patricia Rodero Oscoz, Fabiola San Juan Elizalde, Esther Sanz Lezaun, Carla Satrustegui Reclusa, Marta Sola Jaso, Mª Isabel Urriza Fernánez, Edurne Urrutia Lafuente Altos Aurora Alfonso de Esteban, Lydia Arellano Zozaya, Ana Arregui Echeverría, Laura Barriuso Lapresa, Nerea Cristóbal Olmedo, Pilar Echavarri Pablo, Sagrario Garaikoetxea Aranburu, Txaro Garciandia Iriarte, Maite Huarte Gorraiz, Mirentxu Iñarrea Olivan, Montse Jimenez Sarasa, Carmen Lizarraga Basarte, Laura Lora Ribas, Ana Mendioroz Equiza, María Cruz Ollaquindia Fernandez, Ana Recalde Eseverri, Oihana Saez González, Mª Teresa Toca López de Torre, Maitane Urbizu Ruiz

10 | London Philharmonic Orchestra

Frühbeck de Burgos and the New York Philharmonic Orchestra, for which it received glowing reviews from prestigious publications including The New York Times. The 2014/15 season marks the 150th anniversary of Orfeón Pamplonés. Tonight’s performance of Verdi’s Requiem with the London Philharmonic Orchestra is the first of a European tour with the Orchestra that will continue at Madrid’s Auditorio Nacional de Música on 30 January, Pamplona’s Baluarte Concert Hall on 1 February and Paris’s Théâtre des Champs-Elysées on 3 February. On 19 March – the anniversary date of the foundation of the choir – Orfeón Pamplonés will perform Beethoven’s Ninth Symphony at the Baluarte Auditorium in Pamplona with the Mariinsky Orchestra under the baton of Valery Gergiev. In August the choir will appear for the first time at the BBC Proms, with the BBC Philharmonic Orchestra under conductor Juanjo Mena. Among many other concerts this season, the choir will be conducted by Douglas Sheldon in Pamplona, performing a capella and accompanied works by Bruckner, Brahms and Mendelssohn, as well as Fauré’s Requiem.

Tenors Juan Mari Alemán Irungarai, Iosu Anaut Domeño, Javier Arizmendi García, Carlos Burguete Elarre, Jesús Fernando Diaz Gonzalez, Mikel Esain Ayesa, Koldo Etxeberria Villar, Juan Gainza Berro, Joseba Garde Aguerri, Xabier Garin Rodrigo, Fermin Guerendiain Ciganda, Alberto Ilarregui Miranda, Joaquin Iturralde Lázaro, Joaquin Jabat Churio, Javier Leoz Aristu, Pedro Lizarraga Goñi, Alvaro Lorca Moreno, Anibal Martínez Martínez, Juan Romero Roldán, Joxemi Serrano Maya Basses Jesús María Aldaz Ilzarbe, Juan Antonio Armendariz, Javier Artieda Belza, Silvano Baztan Guindo, Bernado Belloso Garcia, Mikel Berraondo Piudo, Carlos Del Río Bocio, Javier Elio Sanchez, Patxi Garaikoetxea Aranburu, Javier Garayoa Idoate, Leandro Garciandía Iriarte, Santos Iribarren Sagües, Ivan Luque Martinez, Pablo Perez Ortiz, Joseba San Martín Menendez, Daniel Sanchez Riveros, Jesus Ulayar Echarri, Javier Uriz Ancizu

Programme notes

Two late Requiems Igor Stravinsky was in his early 80s and in poor health when, no doubt with his own death in mind, he seized on a commission for a requiem and delivered instead his Requiem Canticles of 1965/66, a setting of segments of the Latin Mass for the dead with instrumental interludes. The work is written in Stravinsky’s personal version of Schoenberg’s twelve-note technique, and is spare in texture and austere in expression. Yet its echoes of the methods and colouring of many of his earlier works make it a fitting postlude to his long composing career.

Igor Stravinsky 1882–1971

Prelude Exaudi Dies irae – Tuba mirum Interlude Rex tremendae Lacrimosa Libera me Postlude The text is on page 13. Requiem Canticles was Stravinsky’s last completed original score apart from the little song The Owl and the Pussy-Cat. It was written between July 1965 and August 1966, around and sometimes during the composer’s frequent journeys from his Californian home to conduct or hear his own music. The score bears a dedication to the memory of a patron Stravinsky

Giuseppe Verdi was 60 and in apparent retirement from composition for the stage when he produced his Requiem in memory of the great Italian writer Alessandro Manzoni. In it he drew on all his experience as an operatic composer, together with his expertise in fugal writing, to create a work of rich variety, intense expression and high drama. It was written, it seems, out of national pride rather than as an expression of Verdi’s own beliefs, which tended to the agnostic. But it remains one of the great masterpieces of the European tradition of sacred choral music.

Piano Requiem Concerto Canticles No. 3 in D minor, Op. 30 Simon Ildikó Komlósi Trpčeski mezzo piano soprano Nikolay Didenko bass 1London Allegro Philharmonic ma non tanto Choir 2 Intermezzo: Adagio – 3 Finale: Alla breve

had never met, Helen Buchanan Seeger. She had left a bequest to Princeton University in New Jersey, and her son, Stanley Seeger Jr, had decided to devote some of it to commissioning a requiem for her. On accepting the commission, Stravinsky seems to have planned a purely orchestral symphony, which he originally intended to call Sinfonia da Requiem – before deciding not to use the title ‘because I seem to have shared too many titles and subjects with Mr Britten already’. In the end, the work combined voices and orchestra in a setting of short sections of the Latin Requiem mass, together with the whole of the ‘Libera me’, interspersed with instrumental movements. It was first performed at Princeton in October 1966 under the direction of the composer’s musical assistant Robert Craft. The work is written in the twelve-note serial technique that Stravinsky adopted in the last years of his life: partly out of his habitual urge to explore and annex

London Philharmonic Orchestra | 11

Programme notes continued

different kinds of music, old and new; partly, perhaps, because it offered him in old age a way of writing music in which every hard-won note would count. However, his highly personal use of the technique never conformed to the serial orthodoxy of Schoenberg or Webern; and Requiem Canticles is in fact based not on one twelve-note row but on two – which gave the composer, as Stephen Walsh comments drily in his The Music of Igor Stravinsky, ‘so many possibilities within the system as virtually to negate it as a unifying force’. At the same time, the score, with its ritualistic structures, pungent harmonies and clear, sharp colours, is entirely characteristic of Stravinsky at any point in his career. The outline of the work is symmetrical. It begins with a Prelude for the strings, in which rising waves of repeated semiquavers are capped by an expressive solo violin phrase to which further solo lines are gradually added. ‘Exaudi’ is a choral prayer on a sentence from the Introit of the Requiem, accompanied by isolated phrases, chords and single notes emerging from silence. Then come two movements on texts from the ‘Dies irae’: the opening pair of verses, with the first line sung and the remainder chanted in sotto voce rhythmic

speech, supported by the brass against a background of vehement activity in the strings, piano and timpani; and the following verse, declaimed by the solo bass with a twofold ‘last trumpet’. The central Interlude (the first part of the work to be composed) is a series of exchanges between flute quartet and bassoon duo (the only woodwind instruments in the score), underpinned by horn quartet, reiterating a chord of two superimposed perfect fifths, and timpani, repeating a four-note chord of perfect fourths. There are two more extracts from the ‘Dies irae’: ‘Rex tremendae’, set in sustained choral textures accompanied by widespanning trombone and trumpet and punctuated by chordal interjections on flutes and lower strings; and the closing ‘Lacrimosa’ (with ‘Pie Jesu’), a lament for solo contralto accompanied in the highest and lowest registers of the orchestra. The ‘Libera me’ is set in its entirety, simultaneously for a chanting quartet of soloists, supported by horns, and for the rest of the choir speaking quietly at a different speed. The Postlude is for the flute quartet, a single horn, piano, harp and tuned percussion, and is made up of bell-like chords that hark back over Stravinsky’s career to the chiming ending of the 1923 choral ballet Les Noces.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

Recent releases on the LPO Label CD: Poulenc & Saint-Saëns organ works Poulenc’s Organ Concerto and Saint-Saëns’s ‘Organ’ Symphony, recorded live at Royal Festival Hall (LPO-0081). This sellout concert in March 2014, conducted by Yannick Nézet-Séguin with organist James O’Donnell, launched the refurbished Royal Festival Hall organ, complete for the first time since 2005. The CD is priced £9.99, including free postage.

LP box set: Jurowski conducts the complete Brahms Symphonies These recordings – of live LPO concerts at Southbank Centre’s Royal Festival Hall between 2008 and 2011 – have previously been released as two separate LPO Label CDs, but are brought together in one package for the first time in this exclusive box set, which will be a must-have for lovers of Brahms, Jurowski fans and vinyl enthusiasts alike. The 4-LP box set is priced £85.00, including free postage.

Buy these and over 80 other titles from lpo.org.uk/recordings, the London Philharmonic Orchestra Ticket Office (020 7840 4242) and all good CD outlets.

12 | London Philharmonic Orchestra

Stravinsky: Requiem Canticles text

Prelude Exaudi Exaudi orationem meam, Ad te omnis caro veniet.

Hear my prayer: all flesh shall come to thee.

Dies irae Dies irae, dies illa, Solvet saeclum in favilla: Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus!

Upon that day, that day of wrath, the world shall be reduced to ashes: as David and the Sybil prophesied. What trembling there shall be when the judge appears to sift all thoroughly!

Tuba mirum Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum

The trumpet, sounding wondrous blasts through the tombs of every land, will gather all before the throne.

Interlude Rex tremendae Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

King of dreadful majesty, who freely savest the redeemed, save me, thou fount of mercy.

Lacrimosa Lacrimosa dies illa, Qua resurget ex favilla, Judicandus homo reus: Huic ergo parce Deus: Pie Jesu Domine, Dona eis requiem. Amen.

That day is one of weeping on which from the ashes shall arise the guilty man to be judged: so spare me, O God. Gentle Lord Jesus, grant them rest. Amen.

Libera me Libera me, Domine, de morte aeterna, in die illa tremenda; Quanto coeli movendi sunt et terra: Dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, Dum discussio venerit, atque ventura ira. Quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, Dies magna et amara valde. Libera me.

Deliver me, O Lord, from eternal death on that fearful day when the heavens and the earth are shaken while thou dost judge the world by fire. I tremble, and am full of fear, for destruction shall come and wrath appear, when the heavens and the earth are shaken. That day, that day of wrath, calamity and sorrow, That great and very bitter day, deliver me.

Postlude

London Philharmonic Orchestra | 13

Programme notes continued

Giuseppe Verdi

Piano Requiem Concerto No. 3 in D minor, Op. 30 Simon Maija Trpčeski Kovaļevska pianosoprano Ildikó Komlósi mezzo soprano 1 Dmytro Allegro ma Popov nontenor tanto 2 Nikolay Intermezzo: Didenko Adagio bass – 3 London Finale: Alla Philharmonic breve Choir Orfeón Pamplonés

1813–1901

Requiem and Kyrie Dies irae Offertorio Sanctus Agnus Dei Lux aeterna Libera me

I have never seen Verdi work with so much love on a work and lavish such care upon it. Clara Maffei, long-time friend of the composer (translated in David Rosen’s Cambridge Music Handbook on the Verdi Requiem)

The text begins overleaf. It was the deaths of two great Italians that prompted the composition of Verdi’s Requiem, or Latin Mass for the dead. The first was that of Gioachino Rossini, in 1868. Verdi proposed that his operatic predecessor should be commemorated in a composite Requiem, written by several of Italy’s leading composers; he himself contributed the final ‘Libera me’. The work was ready in time for performance on the first anniversary of Rossini’s death; but it fell victim to Italian musical politics, and remained unheard. Only in recent years has it been dug out of the archives, performed and recorded. Then in 1873 came the death of the dramatist, poet and novelist Alessandro Manzoni – a focus of national pride, and a man whom Verdi admired greatly. For the first anniversary of Manzoni’s death, Verdi rewrote his earlier fragment and expanded it into a complete Requiem – helped by the fact that the text of the ‘Libera me’ includes references back to passages earlier in the Requiem Mass, so that he had ready-made musical ideas for some sections. The ‘Manzoni Requiem’ was first performed in Milan in May 1874, with great success, and soon became popular throughout Europe. For some years, it looked like remaining Verdi’s last major work: only in 1879 did he begin planning Otello, which together with Falstaff occupied him until he was well into his seventies.

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Verdi was first and foremost an operatic composer, and the notion that there is an operatic quality to the Requiem can be traced back even before the first performance. In a preview in a German magazine, the pianist and conductor Hans von Bülow described the work as Verdi’s ‘latest opera, albeit in church vestments’. In one sense, of course, this idea is nonsense. The Requiem has virtually no characterisation, and certainly no dialogue. The balance and proportions of the different numbers – in particular the continuity of the massive ‘Dies irae’ – are very different from those of Verdi’s operas. And the chorus plays a much more important part in the Requiem than it does in any of the operas – principally because its members are not constrained by the need to memorise all their music, as for a stage performance. At the same time, Verdi’s musical language in the Requiem is not very different from that of his operas. Certainly, there are two big set-piece choral fugues that have no operatic equivalent: the ‘Sanctus’ (for double choir) and the one in the ‘Libera me’. But in other parts of the work, where tradition required fugal treatment, Verdi provided only much shorter choral statements; and the solo ‘Liber scriptus’ was written after the first performances to replace another fugue – by all accounts rather a dull one. And, like the operas, the Requiem

boasts strikingly dramatic turns of harmony, a wide variety of instrumental colours, a range of textures from unsupported vocal lines to full chorus and orchestra, and above all an abundance of expressive melody. As if to confirm the kinship, it is now known that one section of the Requiem, the ‘Lacrimosa’, was adapted by Verdi from a scene dropped from the original 1867 Paris version of Don Carlos before its first performance.

Mini film guides to this season’s works For the 2014/15 season we’ve produced a series of short films introducing the pieces we’re performing. Watch Patrick Bailey introduce Verdi’s Requiem: lpo.org.uk/explore/videos.html

In any case, the fact that Verdi’s Requiem has an operatic quality is hardly surprising, because his whole approach to the subject was essentially a dramatic one. He was himself an agnostic, with little respect for the Catholic church. But he was clearly thrilled by the dramatic possibilities of the Requiem text – above all by the ‘Dies irae’, that vast fresco of the day of judgement, with the last trumpet sounding all around, in the orchestra and offstage, and a crowd of penitents surrounding the judgment seat. And the final ‘Libera me’ is not only a prayer for the dead, but also an anguished personal plea for salvation. Programme notes © Anthony Burton

Verdi’s Requiem on the LPO CD Label CDs on sale tonight from the Royal Festival Hall shop Verdi Requiem Jesús López-Cobos conductor Margaret Price soprano Livia Budai mezzo soprano Giuseppe Giacomini tenor Robert Lloyd bass London Philharmonic Orchestra and Choir £10.99 (2 audio CDs) LPO-0048 ‘With ravishing orchestral playing and fine singing from the London Philharmonic Choir, this is a performance not to be missed.’ Classic FM Also available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Available to download or stream online via iTunes, Spotify, Amazon and others.

London Philharmonic Orchestra | 15

Verdi: Requiem text

Requiem and Kyrie Quartet and chorus Requiem aeternam dona eis, Domine et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet. Kyrie eleison. Christe eleison.

Grant them eternal rest, Lord, and let perpetual light shine upon them. A hymn becometh Thee, O God, in Sion, and a vow shall be paid to Thee in Jerusalem. Hear my prayer, to Thee all flesh shall come. Lord, have mercy upon us. Christ, have mercy upon us.

Dies irae Chorus Dies irae, dies illa Solvet saeclum in favilla Teste David cum Sibylla.

Day of wrath, that day Shall dissolve the world in ashes As David and the Sibyl testify.

Quantus tremor est futurus Quando judex est venturus Cuncta stricte discussurus.

How much trembling there will be When the Judge has come To weigh all things strictly.

Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum.

The trumpet scattering its wondrous sound Through the graves of every land Will drive all before the throne.

Solo bass Mors stupebit et natura Cum resurget creatura Judicanti responsura.

Death and nature will be astounded When creation rises again To answer the Judge.

Solo mezzo soprano Liber scriptus proferetur In quo totum continetur Unde mundus judicetur.

A book of writings shall be brought Containing everything For which the world will be judged.

Judex ergo cum sedebit, Quidquid latet apparebit, Nil inultum remanebit.

Therefore when the Judge sits, Whatever is hidden will appear, Nothing will go unavenged.

Chorus Dies irae, dies illa Solvet saeclum in favilla Teste David cum Sibylla.

Day of wrath, that day Shall dissolve the world in ashes As David and the Sibyl testify.

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Soprano, mezzo soprano and tenor Quid sum miser tunc dicturus, Quem patronum rogaturus Cum vix justus sit securus?

What shall I, wretch that I am, say then, Whose patronage shall I ask When the righteous are hardly safe?

Quartet and chorus Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

King of dread majesty, Who freely savest the redeemed, Save me, fount of pity.

Soprano and mezzo soprano Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas illa die.

Remember, merciful Jesus, That I am the cause of Thy journey, Let me not be lost on that day.

Quaerens me, sedisti lassus, Redemisti crucem passus; Tantus labor non sit cassus.

Seeking me, Thou didst weary Thyself, To redeem me didst suffer on the cross; Let not such travail be in vain.

Juste judex ultionis, Donum fac remissionis Ante diem rationis.

Just Judge of vengeance, Grant me the gift of remission Before the day of reckoning.

Solo tenor Ingemisco tamquam reus, Culpa rubet vultus meus, Supplicanti parce, Deus.

I groan as one guilty, My countenance blushes with guilt, Spare the suppliant, O God.

Qui Mariam absolvisti Et latronem exaudisti Mihi quoque spem dedisti.

Thou who didst absolve Mary And listen to the robber Hast given me hope also.

Preces meae non sunt dignae, Sed tu, bonus fac benigne, Ne perenni cremer igne.

My prayers are unworthy, But Thou, good Lord, have mercy, Lest I burn in everlasting fire.

Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.

Allow me a place among the sheep, And from the goats divide me, Setting me upon Thy right hand.

Solo bass Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis.

When the wicked are confounded And consigned to the bitter flames, Call me with the blessed.

Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

I pray, a kneeling suppliant, My heart contrite as ashes, Take into Thy care my end. Please turn the page quietly London Philharmonic Orchestra | 17

Verdi: Requiem text continued

Chorus Dies irae, dies illa Solvet saeclum in favilla Teste David sum Sibylla.

Day of wrath, that day Shall dissolve the world in ashes As David and the Sibyl testify.

Quartet and chorus Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus. Pie Jesu Domine, Dona eis requiem. Amen.

Sorrowful that day When rising from the ashes Sinful man goes to be judged. Therefore spare him, O God. Merciful Lord Jesus, Grant them rest. Amen.

Offertorio Quartet Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam; Quam olim Abrahae promisisti et semini ejus.

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit. Deliver them from the lion’s mouth, that hell may not swallow them, and they may not fall into darkness. But let the holy standard-bearer Michael bring them into the holy light; Which Thou didst promise of old to Abraham and his seed.

Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus. Libera animas omium fidelium defunctorum de poenis inferni, Fac eas de morte transire ad vitam.

We offer Thee, Lord, sacrifice of prayers and praise. Receive them for those souls whom this day we commemorate. Make them, Lord, to pass from death to life. Which Thou didst promise of old to Abraham and his seed. Deliver the souls of all the faithful departed from the pains of hell, Make them to pass from death to life.

Sanctus Double chorus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

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Holy, holy holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is he who cometh in the name of the Lord. Hosanna in the highest.

Agnus Dei Soprano, mezzo soprano and chorus Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lamb of God, who takest away the sins of the world, grant them eternal rest.

Lux aeterna Mezzo soprano, tenor and bass Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Let eternal light shine upon them, Lord, with Thy saints for ever, for Thou art merciful. Grant them eternal rest, Lord, and let perpetual light shine upon them.

Libera me Soprano and chorus Libera me, Domine, de morte aeterna in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo dum discussio venerit atque ventura ira, quando coeli movendi sunt et terra.

Deliver me, Lord, from eternal death on that dreadful day, when the heavens and earth shall be moved, and Thou shalt come to judge the world by fire. I am seized with trembling and fear when I reflect on the trial and wrath to come, when the heavens and earth shall be moved.

Dies irae, dies illa calamitatis et miseriae, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Libera me, Domine, de morte aeterna in die illa tremenda. Libera me, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Libera me, Domine, de morte aeterna in die illa tremenda. Libera me.

Day of wrath, that day of calamity and misery, a great and exceeding bitter day. Grant them eternal rest, Lord, and let perpetual light shine upon them. Deliver me, Lord, from eternal death on that dreadful day. Deliver me, when the heavens and earth shall be moved, and Thou shalt come to judge the world by fire. Deliver me, Lord, from eternal death on that dreadful day. Deliver me. Translation © Eric Mason

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Next LPO concerts at Royal Festival Hall

Wednesday 28 January 2015 | 7.30pm

Sunday 8 February 2015 | 12.00 noon

Debussy Prélude à l’après-midi d’un faune* Magnus Lindberg Accused: three interrogations for soprano and orchestra (world premiere)† Wagner Prelude to Act 1, Tristan und Isolde Scriabin The Poem of Ecstasy

Family Concert: The Pied Piper of Hamelin (world premiere)

Vladimir Jurowski conductor Barbara Hannigan soprano * Please note change to advertised programme

† Commissioned by the London Philharmonic Orchestra, Radio France, Gothenburg Symphony Orchestra and Toronto Symphony Orchestra, the Cleveland Orchestra and Carnegie Hall. Concert generously supported by Victoria Robey OBE.

Free pre-concert event | 6.15–6.45pm Royal Festival Hall New Composer in Residence Magnus Lindberg talks about his role with the Orchestra and his latest work, Accused, premiered this evening.

Suitable for children aged 7 and over. Vladimir Jurowski conductor Michael Morpurgo author/narrator Colin Matthews composer Tickets £14–£18 adults, £7–£9 children

Wednesday 11 February 2015 | 7.30pm Rachmaninoff: Inside Out Stravinsky Symphony in Three Movements Rachmaninoff Piano Concerto No. 2 Rachmaninoff The Bells (Choral Symphony)

Saturday 7 February 2015 | 7.30pm

Vasily Petrenko conductor Jorge Luis Prats piano Anna Samuil soprano Daniil Shtoda tenor Andrei Bondarenko baritone* London Philharmonic Choir

Rachmaninoff: Inside Out

* Please note a change to the artist as originally advertised.

Rachmaninoff Three Russian Songs Rachmaninoff Spring Enescu Symphony No. 3* Vladimir Jurowski conductor Andrei Bondarenko baritone London Philharmonic Choir Trinity Boys Choir * Supported by the Romanian Cultural Institute.

Presented in co-operation with the Serge Rachmaninoff Foundation.

Free pre-concert event | 6.00–6.45pm Royal Festival Hall LPO musicians have been working with GCSE students from south-east London to explore the music of Rachmaninoff. They will perform their own new works for ensemble.

Presented in co-operation with the Serge Rachmaninoff Foundation.

Free pre-concert event | 4.00–6.00pm Royal Festival Hall Rex Lawson and Denis Hall of the Pianola Institute give a unique performance of Rachmaninoff piano rolls. The concert includes part of Rachmaninoff’s Cello Sonata, with cellist Johannes Moser.

Unless otherwise stated, tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk | Transaction fees: £1.75 online, £2.75 telephone. Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk Transaction fees: £1.75 online, £2.75 telephone. No transaction fee for bookings made in person

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Radio 3 Live In Concert Listen to the best live performances from across the UK, every evening at 7.30pm. bbc.co.uk/radio3 London Philharmonic Orchestra | 21

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Simon Robey Victoria Robey OBE Julian & Gill Simmonds* Anonymous Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mrs Philip Kan* Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett John & Manon Antoniazzi Jane Attias John & Angela Kessler Guy & Utti Whittaker * BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring J. Douglas Home Ivan Hurry Mr Glenn Hurstfield Per Jonsson

Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Paul & Brigitta Lock Ms Ulrike Mansel Robert Markwick Mr Brian Marsh Andrew T Mills John Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Mrs Kazue Turner Simon Turner Howard & Sheelagh Watson Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK Berenberg British American Business Carter-Ruck Bronze: Appleyard & Trew LLP BTO Management Consulting AG --Charles Russell Speechlys Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust

22 | London Philharmonic Orchestra

The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory of Peter Carr The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust London Stock Exchange Group Foundation Marsh Christian Trust The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute

The Peter Minet Trust The Ann and Frederick O’Brien Charitable Trust Office for Cultural and Scientific Affairs of the Embassy of Spain in London Palazzetto Bru Zane – Centre de musique romantique française The Austin and Hope Pilkington Trust Polish Cultural Institute in London PRS for Music Foundation Rivers Foundation The R K Charitable Trust Serge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

SOUND FUTURES DONORS We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below, as well as many who have chosen to remain anonymous, have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant. By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre. We thank those who are helping us to realise the vision. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

David Ross and Line Forestier (Canada) Tom and Phillis Sharpe Mr & Mrs G Stein TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker

Welser-Möst Circle John Ireland Charitable Trust Neil Westreich

Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Yan Bonduelle Richard and Jo Brass Britten-Pears Foundation Business Events Sydney Desmond & Ruth Cecil Lady June Chichester John Childress & Christiane Wuillamie Lindka Cierach Paul Collins Mr Alistair Corbett Dolly Costopoulos Mark Damazer Olivier Demarthe David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Commander Vincent Evans Mr Timothy Fancourt QC Christopher Fraser OBE Karima & David G Lyuba Galkina David Goldberg Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust

Tennstedt Circle Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas Anonymous John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Robert Markwick The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Lady Jane Berrill David & Yi Yao Buckley Bruno de Kegel Goldman Sachs International Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Ruth Rattenbury Sir Bernard Rix Kasia Robinski

John Hunter Ivan Hurry Rehmet Kassim-Lakha Tanya Kornilova Peter Leaver Mr Mark Leishman LVO and Mrs Fiona Leishman Howard & Marilyn Levene Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Dr Frank Lim Dr Eva Lotta & Mr Thierry Sciard Peter Mace Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan Paris Natar John Owen The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Victoria Provis William Shawcross Tim Slorick Howard Snell Lady Valerie Solti Stanley Stecker Lady Marina Vaizey Helen Walker Timothy Walker AM Laurence Watt Des & Maggie Whitelock Brian Whittle Christopher Williams Peter Wilson Smith Victoria Yanakova Mr Anthony Yolland

London Philharmonic Orchestra | 23

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer